Holger Keifel spent eight years as a shadow in the court of boxing royalty, making portraits of fighters, trainers and promoters in the corners of rooms where he did not belong. The best of three or four frames captured in the fleeting moments of a news conference, weigh-in or short breathers between sparring sessions — each was a jab.
“My work is more questions than answers. It’s clearly political; I’m not trying to dodge that. I approach [a subject] from as many angles as I can, so it seems ambiguous, and people can enter into a dialogue with it,” says Greer Muldowney
Mei Xian Qiu is a Los Angeles based artist who creates staged tableaux that reflect Cultural Revolution Propaganda imagery. She currently has an exhibition at the Kopeikin Gallery ending on April 19th. “In the photographs, hidden political dangers are su
When people ask me what makes a Photo of the Day—a curated look at photography around National Geographic—my answer is simple: I have to want to spend time with the picture, and whether full of complex detail or exquisitely simple, it has to stand on its own
Following an earthquake in March 2011, disaster struck the Fukushima Daiichi nuclear power in Japan plant forcing people to leave their homes when the area was declared an exclusion zone. Photographers Dominic Nahr (DN) and Tomás Munita (TM) traveled to the area for a reportage on the current situation there. Below is a sample of an interview with them that appears in the latest issue of LFI.
Last month, the photographer Pieter Hugo went to southern Rwanda, two decades after nearly a million people were killed during the country’s genocide, and captured a series of unlikely, almost unthinkable tableaus
“I think the very first photo I took was in 1967 at the Monaco Grand Prix. I was 13 and photographed race cars with my dad. That was the year that Lorenzo Bandini crashed and burned, and I took photos of it with my Kodak camera”
we spoke to Redux photographer Mark Peterson, whose candid and at times outrageous political photos have appeared on the Instagram feeds of MSNBC and GQ, and in print in the New York Times Magazine, New York Magazine, Fortune and TIME.
Hamburg-based Henrik Spohler’s The Third Day, published by Hatje Cantz, examines the relationship humans have with plant life. Spohler photographed worldwide sites of plant cultivation, showing fruits, vegetables, ornamental trees, seed laboratories, gree
“‘Experience has taught me that many great photographers have incredible gems in their archive, which perhaps they’ve been too close to and can’t quite see the brilliance of,’ says Fetterman”
“The American Society of Media Photographers recently discovered the transcript of an interview of W. Eugene Smith, conducted by the great portraitist Philippe Halsmann and the society’s first president”
Following the fall of Muammar Gaddafi’s regime last year, photographer Jehad Nga set out to explore the former dictator’s political and military philosophies within the framework of an underlying and contrasting Libyan culture. Here, Nga he writes for LightBox about his project, The Green Book, which depicts the conflicting values of reality through gathered images broken down into binary code.
Hélène Joye-Cagnard’s and Catherine Kohler’s selection welcomes photographers from 10 countries – among them Iran, the US, China, Spain and Switzerland – and congregates the multiple facets of a red-hot topic into a coherent image.
I observed a woman taking a photo with her iPhone today while walking down the street. But this wasn’t some sort of casual snap. She was backing up. Really backing up. Framing the scene even though she was a good 30 meters behind her friends who had ventu
Sure, maybe the casual photographer can’t make manual exposure adjustments, but I bet a Sony RX1 in “P” mode shoots some pretty stellar photos. So maybe it’s not me. Maybe it is just my expensive camera and glass that gives the illusion that I’m a better photographer than the average Joe off the street.
Susan Bright is a photography curator currently based in New York. She has become a prominent figurehead in her contribution to photography by showcasing artists who are pushing the boundaries of the medium. In doing so she highlights exciting movements within photography and keeps the bar high for the next generation of artists.
Mark Leong’s cinematic photos reveal an uneasy relationship between old and new, order and chaos in Hong Kong, 15 years after its handover from Britain.
During the months he spent trekking through this city for National Geographic magazine, Mark Leong was on a hunt for glimpses of it’s underground. Years of Hong Kong cinema had colored his view of the place, rendering it a seedy scene beneath a vibrant subtropical metropolis.
In a sense, he went looking for what Ridley Scott called “Hong Kong on a very bad day.”
